Self portraits are associated with a close observation of the head. Although we may be tempted to anchor our paintings on accurate lines that delineate facial features many of the most accomplished self portraits rely on identifying the way light catches the sculptural planes of the head.
Cezanne's hatching strokes emphasise the function of the colour in conveying volume, while at the same time retaining their vibrancy.
Lucian Freud took a long time to observe every slight difference in hue on the face, to build up a complex jigsaw of painted marks that give form to his self portrait.
On Friday we will practice leaving individual marks on our paintings that will underline the material aspect of our work and enrich it visually. This will give some account of our character as much as our physical likeness.
If you would prefer to bring in an image of somebody else, that is OK but please remember that we are looking for ways of making the painting appealing rather than getting a photographic likeness. In any case a photo with a good range of values will help this task.